Showing posts with label Billy Bob Thornton. Show all posts
Showing posts with label Billy Bob Thornton. Show all posts

Saturday, 25 April 2026

Alternate Best Supporting Actor 2004: Results

10. Daniel Wu in New Police Story - Wu makes for a pretty whiny and obnoxious villain. Not in a way that works either. 

Best Scene: Last "duel".
9. Cameron Bright in Birth - Bright delivers on the specific hollow note asked of him but never makes an impact beyond that. 

Best Scene: Being challenged.
8. Tim Meadows in Mean Girls - Meadows finds the right tone for the material hitting his comedic marks while still being believable. 

Best Scene: Riot control.
7. William Hurt in The Village - Hurt manages to deliver what dramatic heft he can from the tricky material even if it only allows him to go so far with it. 

Best Scene: Explaining his decision. 
6. Bud Cort in The Life Aquatic With Steve Zissou - Cort gets the most out of his unusual role being both funny but also finding his own little arc as the surprisingly supportive "bond company stooge". 

Best Scene: Human being. 
5. Billy Bob Thornton in The Alamo - Thornton is the most interesting part of his film finding honesty in his deconstruction of man who knows he doesn't live up to his "living legend" status. 

Best Scene: Talking to Bowie. 
4. Nick Nolte in Clean - Nolte gives a very quiet and moving portrayal of man managing his own grief while also trying to honestly negotiate between family members dealing with the same loss. 
 
Best Scene: Important talk with his grandson.
3. Alfred Molina in Spider-Man 2 - Molina manages to thrive within the idea of the comic book villain while still providing essential grounding to provide balance. 

Best Scene: Finale. 
2. Peter O'Toole in Troy - O'Toole provides honest gravitas to tricky material and even more importantly emotional truth. 

Best Scene: Priam speaks to Achilles. 
1. Al Pacino in The Merchant of Venice - Good predictions Omar, Tony, Bryan, Shaggy, Tybalt, Tahmeed, Ytrewq, Luke, Robert, Harris, Maciej, Tim, RatedRStar, My top three of the year all are dealing with tricky material. O'Toole finding life in material that so many become stiff and awkward from. Hoffman finding genuine comedy even when so much of the attempted comedy around him is falling flat. Then Pacino who is in a slightly different situation in that he's dealing with Shakespeare however trying to accentuate a certain context many would argue was not intended in the original material. Pacino though excelling in this alternative approach and finding humanity within his "villain". Although I still settle on Hoffman. Because honestly being good in the bad comedy is a particularly rare occurrence and it's notable while I still found his film largely unfunny, I still laughed thanks to Hoffman. And really put say Dan Fogler, or even Jack Black into that role, I don't think they would've escaped the mediocrity let alone make the mediocrity into something that actually worked.  

Best Scene: "Do we not Bleed" 

Next: 1953 Lead

Friday, 27 March 2026

Alternate Best Supporting Actor 2004: Billy Bob Thornton in The Alamo

Billy Bob Thornton did not receive an Oscar nomination for portraying Davy Crockett in The Alamo.

The Alamo seems like there is a good film trying to get out, which is supported by the production history where it sounds like earlier versions wanted a more complex and complete version of the history, that is sadly kept prisoner by the extremely standard mostly “print the legend” approach. 

The most substantial element of that version lies within Davy Crockett and Billy Bob Thornton’s portrayal of the character. As what Thornton and the film do, it very specifically seeks to break down the notions of the legend Davy as the “king of the wild frontier” and deal with him on more human terms. We are introduced to Davy as the politician and living legend where he’s literally at a function where someone is performing his “life story” for him. Thornton’s quite effective in managing to balance a combination of the politician taking the points with a certain smiling graciousness, yet within that smile denotes someone not entirely comfortable with the nature of the situation. After Davy loses his political seat he ends up going to Texas and joining forces at the Alamo, and honestly is a pivotal scene for Thornton’s whole performance as Davy twofold. One in his saying he got kicked out of the congress so might as well go to Texas, Thornton delivers that line very much like he’s running his PR campaign. It isn’t with the pride of a man trying to fight for freedom but entirely a man looking for some avenue to continue his career. Adding on top of that the moment where he is told that the full Mexican army is heading towards the Alamo, Thornton’s reaction and delivering of having thought there wasn’t much fighting, is with a glint of genuine fear and more than a bit of disbelief as we see guy potentially looking to score some political points now in the middle of a genuine war. 

Within the scheme of the film Thornton is consistently the most interesting aspect throughout the film as he creates a real complexity in the story of Davy within the scheme of the Alamo. Thornton does play the part as the “hero” rather what he manages to do is create a lot of different fascinating shades to the idea of the folk legend. Where Thornton is quite remarkable in finding moments of trying to live up to the name while also at others admitting to being far less than what is expected of him. You have the moments where people do speak of the legend of Davy, and I love the moment actually where Davy takes a pot shot at a Mexican soldier, where Thornton’s whole manner suddenly is very much playing the part of the legend briefly as a sort of morale boost to everyone around him, even playing off the near miss of the shot as having got caught in the wind with this certain not entirely false, but not entirely true confidence of someone doing his job of playing the part, while not entirely living up to the part. Contrasting that is when he speaks to Jim Bowie (Jason Patric), another man of legend whose stories apparently are true, unlike most of Davy’s. Thornton brings such a naturalistic realization of the slight embarrassment at needing to admit that he’s far from his legend particularly noting his lack of a Coonskin hat with a bit quiet humor, where he manages to hit the right note of sincerity of someone kind of caught in the middle of an idea he is partially responsible for but also is not. Thornton manages to find a nuance in it, not being someone who denies it, not being someone who lies about it either, finding the struggle to deal with the notion but not wanting to entirely destroy it either. 

Within the buildup towards the battle Thornton does the most out of any performer to add some genuine gravity to every moment and creates a journey which can follow with Davy in dealing with the challenges of the situation. Once more not choosing a single approach so easily, such as when after an initial skirmish Davy suggests burning down some buildings to prevent the Mexicans from using them as cover. Thornton's initial delivery is very much as the nonchalant hero as he notes he wanted to stretch his legs anyways. When actually in the action though Thornton does keep a sense of real urgency if not fear as he has to take on Mexican soldiers and even kills one. A moment where Thornton is great is the moment of shooting the man and his eyes realize the very real weight of killing a man in the moment. Following it with his particularly powerful delivery of asking what the man’s name was before the man dies, Thornton captures such a potent sense of real humanity within the moment that does not make it all a simple “killing the enemy” moment. Similarly we have a key moment when asked about his past exploits, and Thornton’s reactions are a combination of a certain humility though combined with a certain fear and even an understanding of his limits as a soldier. Thornton finding a poignancy in underplaying his exploits and more so emphasizing that his previous duties weren’t exactly of a great warrior. All except his speaking on a time where he was part of a raiding party where they killed natives in fire and the grease from the dead men cooked potatoes that their squad prepared to eat. Thornton’s quite effective because as he begins the story it is of the wise man sharing accomplishments however as it continues in each step there is a haunting shame that forms in his eyes and that even in his most unusual story it isn’t one of any kind of triumph. 

Thornton during the battle and build up scenes, really just brings a much needed weight in every moment, from even just trying to ease tensions by playing the violin, to later every single reactionary moment through the battle where you can feel every moment of loss most through him. Leading eventually to his final scene where I think you do see the most weakness of the film get in the way, as the more human idea of Crockett is pushed aside for his hero moment as he unleashes his disgust against General Santa Anna rather than ask for mercy. There was probably a way to reach this point, where we see Davy purposefully play up the notion of being the “legend” that could’ve been better realized, however I wouldn’t say on a writing side entirely builds up to it perfectly. Having said that, I think Thornton does more than an admirable job of not overplaying the moment, finding the needed venom in his delivery, the disdain in his eyes, and his “what the hell” moment of accepting his demise to make it work as well as he can. And while in a way I think it is his least interesting scene, as he more so becomes part of the rest of the film so to speak, he in no way gives a bad performance in the scene. Thornton’s work and the character of Crockett however is a testament to the potential of the film, because he does offer a complex and more subtle depiction of the historical figure. Given how good Thornton is here working with the imperfect material, I would say if the film had maybe stuck closer to these ideas, we might’ve had a truly great historical epic and I think Thornton could’ve gone even further in the role. Having said that, even existing in a flawed film, Thornton does his best to elevate what he has and is by the far the most worthwhile element of the film. 

Monday, 16 March 2026

Alternate Best Supporting Actor 2004

 And the Nominees Were Not:

Al Pacino in The Merchant of Venice

Peter O'Toole in Troy

William Hurt in The Village

Nick Nolte in Clean

Billy Bob Thornton in The Alamo

Predict These Five, Those Five Or Both.

Tim Meadows in Mean Girls

Daniel Wu in New Police Story

Cameron Bright in Birth

Alfred Molina in Spider-Man 2

Bud Cort in The Life Aquatic With Steve Zissou

Friday, 30 June 2017

Alternate Best Actor 2003: Results

5. Alex Frost in Elephant - Frost does a lot of important walking while looking bored, then becomes an overt psychopath in the last few seconds of the film.

Best Scene: The special act of walking. 
4. Rémy Girard in The Barbarian Invasions - Girard's performance is often fairly one note as this stubborn and dying intellectual. He plays the role most often in an excessively broad way, as a caricature of a fussy intellectual. When he tones it down a bit he's fairly effective but such moments are rare.

Best Scene: Leaving his classroom.
3. Ivan Dobronravov in The Return - Dobronravov gives an appropriately raw portrayal of the mess of emotions of a boy when his absentee father suddenly appears.

Best Scene: Ivan "conquers" the tower.
2. Daniel Brühl in Goodbye, Lenin! - Brühl gives a charming and delightful portrayal that manages to make his character's most unusual actions not only believable but also deeply affecting. 

Best Scene: Meeting his father.
1. Billy Bob Thornton in Bad Santa - Good predictions Michael McCarthy, Tahmeed, Luke, RatedRStar, Jackiboyz, and Omar. Thornton gives a great performance as he manages to be absolutely hilarious by in no way softening the edges of his very crude criminal yet his approach also manages to earn the character's transition to a better man by the end of the film.

 Best Scene: "For God's sake it's Christmas"
Updated Overall

Next Year: 2003 Supporting

Monday, 26 June 2017

Alternate Best Actor 2003: Billy Bob Thornton in Bad Santa

Billy Bob Thornton did not receive an Oscar nomination, despite being nominated for a Golden Globe, for portraying Willie T. Soke in Bad Santa.

Bad Santa is a very enjoyable comedy about two criminals whose MO is to work as a store Santa Clause and his elf then ripoff the store's safe.

Billy Bob Thornton is an actor who technically was never defined by a single genre, as before and after his breakout in the drama Sling Blade, he's taken roles in any type film really. It is interesting to see him land on the fully lead role in a broad comedy, and his approach is distinctly Thornton. As with his performance in The Man Who Wasn't There, for much of this film the appeal of his work comes from the consistency of the exact approach he takes. In this case his approach is playing Willie Soke as a man who just does not give a crap. We see this from his first scene where Thornton portrays the minimal amount of effort as Willie performs his duties as a Santa Clause more than halfheartedly coughing out his question of what the kids want for Christmas before kicking them off his lap, while barely even staying in the seat through extreme slough as sitting up straight would seem to require too much of him. Thornton's approach is most fitting to a man who rather pee his pants then bother to go to the bathroom since that would just a be a little too hard for him.

Now as ridiculous of a character as Willie is right from the outset, a man who even when performing the crime itself puts as little effort into as possible spending more energy in finishing off his beer before starting the job, this may seem like Thornton will give a broad over the top comedic performance. Thornton does not do that instead giving a rather down to earth portrayal of this lout, though that is what makes this performance so funny. Thornton makes it so Willie does not need to act so out of place as a store Santa, he merely is completely not right in the part even for a moment. Thornton's hilarious here by staying so true to this approach which is to just be so pure in being Willie as this "scum of the earth". It is a little bit fascinating that in different context this would almost be a disturbing performance but given where he is and what he's doing it is instead comedic gold. Thornton just is this low down sort in everything and it is almost strange how funny he is in this by how he doesn't hold back. When he randomly breaks something because it just for whatever reason is bugging him at the wrong time Thornton goes all in with his anger, but since what he's usually beating up is say a plastic reindeer it is most amusing.

Thornton is consistent in his portrayal of Willie but he is in no way one note as he finds so many ways to reveal just how much of a slob the man is. This is in his general disdain for all things, but he undercuts this so comically with his rabid desires for drink and women which he will not stop seeking just because he's Santa such as with his lusty glances towards any woman whether she wants them or not. Thornton's great though with the complete lack of skill he presents in Willie's whole routine portraying him as a guy who is just going to do what he does and that seems to be it. The thing is though Thornton's approach to give technically a honest though hilarious performance is pivotal to his development of Willie. This being that even at his very worst Thornton portrays always a thick layer of self-loathing in everything that Willie does. When he's trying to have some of his fun it feels less of a thrill and more of some temporary reprieve from his horrible existence. Thornton shows his personality to be specifically toxic by how little joy he reveals Willie has in life and how real his hatred is which alludes to years of abuse even before he tells his story.

Now this performance is rather incredible as Thornton pulls off something quite remarkable even past just being so funny throughout, which is he ends up being kind of moving too. This comes in Willie's relationship with a strange little boy Thurman who Willie starts living with as the boy the lives alone with a senile grandmother in a very large home. Thornton's portrayal of Willie's relationship with the boy is technically where his arc lies, though again Thornton does this in a very specific way. Early on Thornton portrays a fascination with the weird boy that is again hilarious as he depicts in his reactions to the boy. Thornton reveals the wheels turning in Willie's head as he tries to decipher the boy who he can't quite understand yet does see any easy mark in whoever his guardian may be. It is in this relationship though where Thornton actually reveals something important about Willie in that Thornton only plays an overt maliciousness in Willie if someone tries to get in his way of doing what he wants to do, or attempts to call him on it. Although his common state is of a cantankerous misanthrope and he set off very easily Thornton suggests that Willie isn't all bad.

Thornton doesn't simplify Willie by making him this nice guy though, but instead reveals his less awful side by showing it to be the motivation for his awfulness for the most part. There is a genuine pain that Thornton brings in every horrible act to Willie and that sadness technically defines the man more than his slovenly behavior. Thornton's performance reflects this throughout and in doing so earns the change in Willie by the end of the film. The reason being Thornton doesn't make it this overt change in personality rather he just portrays it as Willie finally facing his self-loathing through Thurman who passes no judgements on anyone other than himself. When Thurman beats up on himself that is where Thornton is surprisingly moving yet he makes it work in his character as in his eyes he finds a man seeing a boy suffering his same sort of suffering as his own and not liking it. I love the moment where the Thurman gives Willie a gift as Thornton's performance is so perfect in realizing how this causes a change in Willie. It isn't a clean change of a bad man becoming a good man, but rather Thornton presents a man being forced to look at his sorrow directly since he can't lash out against someone who only ever showed him love. Of course this all sounds a little dramatic and the thing is Thornton stays consistently amusing even as he reveals the better Willie. A great moment near the end is a showdown with his thieving partners who intend on killing him, and Willie breaks down. Thornton does not portray this breakdown out of fear, but rather out of sentiment that they are missing the true meaning of Christmas. This should not make sense as even in this moment it's still pretty funny to see the rough Willie break down, but it is also affecting because Thornton's "dramatic" approach earns it. This is a fantastic performance because it gives you everything you expect you want out of the lead of "BAD SANTA" in terms of the comedy yet brings enough depth to this to allow a heartfelt discovery of the Christmas spirit though in the messy way fitting to Willie T. Soke.

Wednesday, 14 June 2017

Alternate Best Actor 2003

And the Nominees Were Not:

Alex Frost in Elephant

Rémy Girard in The Barbarian Invasions

Billy Bob Thornton in Bad Santa

Daniel Brühl in Good Bye Lenin!

Ivan Dobronravov in The Return

And a review of:
Russell Crowe in Master and Commander

Thursday, 25 April 2013

Alternate Best Actor 2001: Results

5. Jack Nicholson in The Pledge- I have to say that my winner was easy to choose I had a hard time deciding the order of the rest as I like all of them. I hate to have to put Nicholson here as I really like his quiet downplayed work here a great deal even if the film botches his characterization somewhat by rushing things.
4. Ryan Gosling in The Believer- Gosling gives a performance better than his film gives a fascinating portrayal of a man made by his inconsistencies.
3. Ewan McGregor in Moulin Rouge!- The film gave me a headache, but McGregor managed to clear it up through his passionate charming portrayal that belts his character's blunt feelings on love no matter how stupid they may be.
2. Billy Bob Thornton in The Man Who Wasn't There- Thornton is all about his distinct characterization here which is a wonderfully deadpan performance that manages to bring us into his character's story, even when his character would just rather go back to cutting hair.
1. Gene Hackman in The Royal Tenenbaums- Well my second favorite actor does it again with his winning turn here as the patriarch of the title family. He is a devilish delight in his comedic scenes, but as well quite moving and believable as his character slowly becomes a better man.
Overall Rank:
  1. Gene Hackman in The Royal Tenenbaums
  2. Tom Wilkinson in In The Bedroom
  3. Billy Bob Thornton in The Man Who Wasn't There
  4. Jake Gyllenhaal in Donnie Darko 
  5. Ryan Gosling in The Believer
  6. Ewan McGregor in Moulin Rouge!
  7. Jack Nicholson in The Pledge
  8. Russell Crowe in A Beautiful Mind
  9. Ethan Hawke in Training Day
  10. Jiang Wen in Devils on the Doorstep
  11. Bob Hoskins in Last Orders
  12. Jim Carrey in The Majestic 
  13. Choi Min-sik in Failan 
  14. Anthony LaPaglia in Lantana
  15. Anton Yelchin in Hearts in Atlantis 
  16. Liu Ye in Lan Yu
  17. Billy Bob Thornton in Monster's Ball 
  18. Gene Hackman in Heist
  19. Ray Winstone in Sexy Beast
  20. Haley Joel Osment in A.I. Artificial Intelligence 
  21. Denzel Washington in Training Day 
  22. Paddy Considine in Last Resort
  23. Rodrigo Santoro in Behind the Sun
  24. Jim Broadbent in Iris 
  25. Mark Rylance in Intimacy
  26. Robert Sean Leonard in Tape 
  27. Heath Ledger in A Knight's Tale  
  28. Kevin Kline in Life as A House
  29. Elijah Wood in The Fellowship of the Ring 
  30. Aurelien Recoing in Time Out
  31. Gael García Bernal in Y Tu Mama Tambien
  32. Diego Luna in Y Tu Mama Tambien 
  33. Billy Bob Thornton in Bandits 
  34. Ethan Hawke in Tape
  35. Ricardo Darin in Son of the Bride
  36. Hu Jun in Lan Yu 
  37. Lior Ashkenazi in Late Marriage
  38. Johnny Depp in Blow
  39. Branko Đurić in No Man's Land
  40. René Bitorajac in No Man's Land
  41. Artiom Strelnikov in Last Resort
  42. Benoit Magimel in The Piano Teacher
  43. Vince Vaughn in Made
  44. Jude Law in Enemy At the Gates 
  45. Ben Stiller in Zoolander
  46. Tom Cruise in Vanilla Sky 
  47. Per Christian Ellefsen in Elling 
  48. Aamir Khan in Lagaan
  49. Jon Favreau in Made
  50. Kevin Spacey in The Shipping News
  51. Bruce Willis in Bandits  
  52. Fernando Tielve in The Devil's Backbone
  53. John Cameron Mitchell in Hedwig and The Angry Inch
  54. Yosuke Kubozuka in Go
  55. John Goodman in Monster's Inc 
  56. Brad Pitt in Ocean's Eleven
  57. George Clooney in Ocean's Eleven
  58. Brad Pitt in Spy Game
  59. Robert De Niro in The Score
  60. Ravi Ramos Lacerda in Behind the Sun
  61. Robert Redford in Spy Game
  62. Mike Myers in Shrek  
  63. Edward Norton in The Score 
  64. Brad Pitt in The Mexican
  65. John Travolta in Domestic Disturbance
  66. Hugh Jackman in Swordfish
  67. Sam Neill in Jurassic Park 3 
  68. Paul Dano in L.I.E 
  69. John Travolta in Swordfish
  70. Jackie Chan in Rush Hour 2
  71. Chris Tucker in Rush Hour 2
  72. Daniel Radcliffe in Harry Potter and the Sorcerer's Stone 
  73. Robert Redford in The Last Castle
  74. Mark Wahlberg in The Planet of the Apes
  75. Billy Crystal in Monster's Inc
  76. Johnny Depp in From Hell
  77. Alec Baldwin in Final Fantasy: The Spirits Within
  78. Ryan Phillippe in Antitrust
  79. Orlando Jones in Evolution
  80. David Duchovny in Evolution
  81. Will Smith in Ali
  82. Woody Allen in The Curse of the Jade Scorpion
  83. Brendan Frasier in The Mummy Returns
  84. David Spade in Joe Dirt
  85. Josh Harnett in Pearl Harbor
  86. Sean Penn in I Am Sam
  87. Ben Affleck in Pearl Harbor
Next Year: 2001 Supporting

Wednesday, 24 April 2013

Alternate Best Actor 2001: Billy Bob Thornton in The Man Who Wasn't There

Billy Bob Thornton did not receive an Oscar nomination, despite being nominated for a Golden Globe and winning several critical awards, for portraying Ed Crane in The Man Who Wasn't There.

The Man Who Wasn't There is an effective though certainly very dry film noir about a barber who sees his life go to pieces with just one case of blackmail.

It seems rather strange that Thornton was unable to receive a nomination for his performance here considering he had a banner year. The problem very well might have been that he had both this and Monster's Ball as viable options. Although on a whole Thornton did receive the most individual attention for this film, it just probably was not enough for this to be taken as the obvious choice. In fact since he received a little more attention for this might have confused the academy even more as his Monster's Ball character is a bit friendlier one in terms of the type of character's they usually go for.

One of the most unique aspects to the Man Who Wasn't There as a film noir is its protagonist. Usually in film noir what gets the character in some sort of trouble is the fact that he gets passionate about something too passionate for his own good. Well the last word that would come to one's mind when describing Ed Crane is the word passionate. Thornton has quite the challenge as Ed Crane in that he needs to play him as the The Man who Wasn't There, yet he also needs to avoid seeming like he is just phoning it in. He has to make us interested in Ed Crane own personal little story even though Ed Crane does not seem exactly all that interested in it himself.

What Thornton does in the role works as he creates a unique characterization for that of Ed Crane. It is not that there are any tics or mannerisms one would usually associate with a distinct character, but nevertheless Thornton makes Ed Crane just a certain sort of man. One could actually say there is a manner there but it is of the unassuming retiring man who prefers to sit and stand quietly much more than talk. Thornton finds just the perfect tone for Ed. He isn't shy, he does not really dislike people, Thornton is able to find that type of man who just would rather be left to his own devices, for better or worse.

Thornton takes a dead pan approach which is interesting since this is not a comedic performance for the most part, although there are certainly a few darkly funny moments in his portrayal. He is much like a dead pan comedian though in that he successfully brings us into the story even though he keeps that same style pretty much throughout the film. He is able to be fascinating to watch just through his dead pan fashion of the part, and there is something just easy to watch this peculiar type of man fall into the film noir plot that is usually left to more pronounced individuals. Thornton is able to make us care even when it may seem like Ed barely does.

One thing that is particularly compelling in Thornton's work here is his narration. It further punctuates every scene with the style he creates so well with Ed Crane, and works along beautifully with his performance on screen. The two blend together seamlessly to make Ed the interesting unique protagonist for this noir. Thornton is terrific in bringing his character's style to the forefront in every scene, and never wavering from it. There are two quick moments where he gets a little more emotional, but only in a completely understandable context that makes sense for Ed. Those to brief moments aside Thornton is able to bring something out of every scene within his purposeful style.

It is a shame that Thornton was not recognized for this performance or his also strong more emotional performance in Monster's Ball. He is very good in both performances of character's with rather differing styles as Hank Grotowski his character in Monster's Ball who most certainly is a man who is there. I like both performances a great deal though I do prefer this performance a little more. I just love what Thornton is able to bring out of his character, and does so much with what seems so little in terms of the character's less traditional emotional arc. It is a great piece of acting by Thornton that does so well in the creation of his character, and shows that it is possible to make even a man who is suppose to be boring can be compelling.

Friday, 19 April 2013

Alternate Best Actor 2001

And the Nominees Were Not:

Ewan McGregor in Moulin Rouge!

Billy Bob Thornton in The Man Who Wasn't There

Gene Hackman in The Royal Tenenbaums

Jack Nicholson in The Pledge

Ryan Gosling in The Believer

Sunday, 6 May 2012

Best Supporting Actor 1998: Results

5. Geoffrey Rush in Shakespeare in Love- Rush is not bad, but besides a few somewhat comedic moment there just is not much to his performance.
4. Ed Harris in The Truman Show- Harris gives a consistently stoic performance that actually is an interesting but not amazing depiction of a pretentious artist who has delusions of grandeur.
3. Robert Duvall in A Civil Action- Robert Duvall is a strong performance as the legal adversary for this film. He creates an effective and unique opponent in just how calm he is throughout the film.
2. James Coburn in Affliction- James Coburn gives an effective performance that brings to life the cruelty, as well as the weakness of his character extremely well.
1. Billy Bob Thornton in A Simple Plan- Thornton easily wins this year for me in his heartbreaking portrait of a simple man who is always trying to do the right thing, but has a very hard time figuring out what the right thing ever is.

Friday, 4 May 2012

Best Supporting Actor 1998: Billy Bob Thornton in A Simple Plan

Billy Bob Thornton received his second acting Oscar nomination for portraying Jacob Mitchell in A Simple Plan.

A Simple Plan tells of three men who find money in a crashed airplane, and decide to keep it themselves, but find their simple plan becomes quite complex very quickly.

Thornton's Jacob is one of three men, the one of the three who is always in the middle of the group. He is the brother of the educated Hank (Bill Paxton) who wants to to plan out the use of the money carefully, and his best friend of the rather crude Lou Chambers (Brent Briscoe), who want to use the money for instant gratification. Thornton's Jacob is always being the one pulled by the other two to be pushed into their way of thinking, as well as is being continually used by the both of them as well. Jacob stands as the man in the middle largely as he really is a very simple and not particularly intelligent man.

This is the second nomination for Thornton for portraying a simple man, but unlike his performance Sling Blade Thorton does not have a constrained set of mannerisms to try to make a unique character as he did in that film. In fact with his far more natural performance here, I find he makes Jacob into a far more memorable character than that of Karl Childers. Thorton is terrific in the role as this simple man, because he does not have an excuses or mannerisms. Jacob is a unique character for a film, as portrayed by Thornton, because he is a very unintelligent man, but it is not due to a mental defect, nor does Thornton play him for laughs.

Thornton instead gives an honest portrait of this man in what might be the most remarkable aspect of this great film. Thornton always plays the part of Jacob as genuinely as possible. In the role of the goodhearted but not very bright brother. Thornton is actually very likable here especially sense he could have just seemed obnoxious. Thornton avoids this by showing how much Jacob actually wants to try to do the right thing, and be on good terms with both his friend and his brother. His performance has the right sort of enthusiasm behind this man that really shows that Jacob only wants what is best for everyone, even though his good intentions rarely work.

Thornton is excellent in the way he creates Jacob's unique dynamic in the group of three men, as he is always being pulled by both of them. He is excellent in how he portrays his relationship with both of the men. With Lou Thornton shows a camaraderie Jacob has with him mainly because they simply share the same sort of hobbies as each other, and are at the same time of social, and intellectual standing. His relationship with Paxton's Hank is far more complex though, but Thornton's flawlessly brings to life their troubled relationship as brothers. Thornton is terrific here because he never simplifies the relationship between the two, which becomes a central part of the film.

Thornton realistically shows just how confused Jacob is over their relationship. He shows that Jacob just never quite knows what to really feel about his brother. Thornton is quite good in both types of moments with Paxton. Thorton effectively conveys the jealously and disconnect with his brother well. He shows that Jacob always does know that they have very very little alike, and it is always a troubling pain in him that he and his brother have such a difference between them. Thornton though shows this is something that only really comes out at his worst times, and it is not really a deep seeded hatred but something that will manifest itself when Hank takes his brother a little too much for granted.

Thornton though exceeds just as well in his moments of showing his love he does have for his brother in all reality. He does not overplay it in any way, but just shows quietly how he does really care for his brother, and that he does mean a whole lot to him. Thornton manages to always convince us that Jacob would always come through for his brother when he truly needs him to. It is a terrific portrayal of this man who never can fully understand his own feelings for his brother. It is a very complex relationship he has with his brother, but he always makes their relationship believable in each and every facet of it.

The best part of his performance though is the way Thornton makes Jacob the moral center of the film, even if he commits the first violent act of the film. Thornton though shows that even that act came from just the inability of Jacob to really think clearly when under pressure. Thornton makes us easily sympathize with Jacob's plight, and his reason for wanting the money. It is an absolutely heartbreaking portrait of this sad man Thornton creates. He shows that all Jacob wants is some of the smallest pleasure in life to himself, and all he wants is to rid himself out of the sad state in his life. His story of his one time "girlfriend" Thornton particularly makes a sad moment, because Thornton doesn't show Jacob as bitter over the experience, but instead believably shows him happy over the fact that he received any attention at all.

Thornton never fails for a moment to show how the weight of moral decisions made in the film. Thornton brings to life the way the immoral decisions begin to pain him. Thornton shows these stages effectively though as he tries at first to avoid even thinking about what they have done, and tries to hide it best he can within himself. Thornton subtly shows how he begins to be unable to avoid his feelings of wretchedness. Thorton realistically shows that he can barely believe they have gone the road they have, and Thornton brings us effectively bring Jacob to his final scene. His last moment is absolutely gut wrenching as he reveals just how Jacob just cannot accept what he and his brother have done. Thornton fully brings to life the horrendous pain that overwhelms Jacob to his very core that makes a tremendous impact on the film, and exceedingly heartbreaking due to how well Thornton realized Jacob up until this point.

Wednesday, 2 May 2012

Best Supporting Actor 1998

And The Nominees Were:

Robert Duvall in A Civil Action

Billy Bob Thornton in A Simple Plan

James Coburn in Affliction

Geoffrey Rush in Shakespeare in Love

Ed Harris in The Truman Show

Saturday, 20 November 2010

Best Actor 1996: Results

5. Woody Harrelson in The People vs Larry Flynt- Harrelson is absolutely nothing special, and very standard for the first half of his performance but then the second half when he starts trying to imitate Flynt he is terrible.
4. Billy Bob Thornton in Sling Blade- I understand the point and the use of the character but this type of performance does not usually equal great acting to me. Also I never fully believed his character either which does not help a performance like this.

3. Geoffrey Rush in Shine- Rush I think does his mannerisms just fine and are close enough to the real deal, but still his performance never can really be amazing. He does succeed a little when he has the chance to show more but he also fails in his last scene.

2. Ralph Fiennes in The English Patient- I think there is something lacking in his character that holds him back, and I feel he was possibly trying too much at the beginning. Still though he succeeds well with the various aspects of the character. He shows the Count's romance, his struggles, and his end very well.

1. Tom Cruise in Jerry Maguire- I was tempted to go with Fiennes but I felt Cruise's performance was technically a little better despite his lighter material. First he uses his star quality and charisma perfectly well in his performance here, but at the same time he still develops his character along with his usual charm. The changes of the character which are abrupt are handled well, and the notable scene of the film I feel are really notable because Cruise handles them as well as he does.

Thursday, 18 November 2010

Best Actor 1996: Billy Bob Thornton in Sling Blade

Billy Bob Thornton received his first acting Oscar nomination for portraying Karl Childers in Sling Blade.

Sling Blade is a fine southern drama, although probably a bit long.

Thornton's performance he is incredibly similar to Geoffrey Rush's in Shine. There performance basically is finding the right note, and mannerisms and then keeping with them throughout the film. Thornton like Rush sets his mannerisms up for the first moment than continues with them for the rest of the film, his character never changes his mannerisms or the way he acts and reacts, even if the character does change throughout the film. I never fully believed his mannerisms to tell you the truth, I always thought that I really saw him acting. Not that he is terrible but I just felt that his performance felt a little forced at times. I just simply never fully believed him as this man.

I would say though that he is still okay, and tries to do his best to add meaning to his own script with his performance. But I think a flaw was that Childers keeps his mannerisms, and very simple way of reacting to everything was a bit of a problem. I mean that is the point of the character, but it does not give Thornton much movement. He just keeps with his mannerisms and sticks with them. I simply I never even impressed overly much with performance like these even when they are not flawed. But this one never seemed really truly authentic. Also Thornton's whole performance is more of something well thought out as a device for the film. Childers simplistic actions and reactions at times, were purposely written that way by Thornton, and he understood how to use his own performance. Even though if he been just a little more believable for me personally he still would not have given an amazing performance but rather a suitable one.